Welcome to Hyperion Records, an independent British classical label devoted to presenting high-quality recordings of music of all styles and from all periods from the twelfth century to the twenty-first.

Hyperion offers both CDs, and downloads in a number of formats. The site is also available in several languages.

Please use the dropdown buttons to set your preferred options, or use the checkbox to accept the defaults.

Don't show me this message again

Who can from joy refrain?, Z342

Introduction

Purcell’s last Occasional Ode, Who can from joy refrain?, was written for the birthday, on 24 July 1695, of the six year-old Prince William, Duke of Gloucester, son of Princess (later Queen) Anne. The Queen had eighteen children, all of whom died in infancy except Prince William; his life reached only to the age of eleven. The performance took place in Richmond House, Kew, and was given by a select number of the royal musicians. The Ode contained an important trumpet part, whose warlike tones particularly appealed to the young Prince, and this part was played by the trumpet virtuoso John Shore. The work is far more typical of the majority of Purcell’s two dozen Odes than Hail! bright Cecilia, being written for a relatively small group of performers. Four of the singers are named on the autograph manuscript, and they seem to have taken both the solos and the choruses. The instruments all appear to have been played one to a part. The inclusion of woodwind instruments (other than recorders) was a fairly recent development for Purcell, and in this case his clearly indicated writing for a small oboe band (two oboes, tenor oboe and the recently introduced bassoon) was particularly effective.

‘The Duke of Gloucester’s Birthday Ode’ shows so much that is wonderful in Purcell’s writing: the Overture contains a marvellously rich slow section before the canzona returns, and the solo movements all feature music of the highest order. ‘A Prince of glorious race descended’ in particular demonstrates one of Purcell’s familiar techniques, and one that he used to great effect in so many of his Odes. The movement begins with a ground bass and solo voice, and then, at the mid-point, is transformed into a ravishing four-part string ritornello. The last movement too is a compositional tour de force: Purcell’s extraordinary Chaconne alternates and mixes voices and instruments in a wonderful variety of textures and rhythms.

Recordings

Two glorious Purcell Odes enjoy performances of perfection from The King's Consort, the Choir of New College Oxford, and a distinguished line-up of soloists. 'Hail! bright Cecilia' is the last, and greatest, of Purcell’s four Odes to St Cecilia, a ...» More

'A treasure house of shamefully neglected music. Over nine hours of wonderful invention … this major recording achievement must be an irresistibl ...'By any yardstick these are life-enhancing works' (CDReview)» More

Sound the Trumpet and beat the warlike Drum;
The Prince will be with laurels crown’d
Before his manhood comes.
Ah! how pleas’d he is and gay,
When the Trumpet strikes his ear!
His hands like shaking lilies play
And catch at ev’ry spear.

If now he burns with noble flame,
When grown, what will he do?
From Pole to pole he’ll stretch his fame
And all the world subdue.
Then Thames shall be Queen
Of Tyber and Seine,
Of Nilus, of Indus, and Ganges:
And, without foreign aid,
Our fleets be obey’d
Wherever the wide ocean ranges.